Erkan Kızılaslan - Yeniden Başlasak - Chord

Key Db major – Bb minor Chords Fm7, Gbmaj7, Dbmaj7, Ebm7, Ebm, Ab, Fm Easy key C (capo 1)

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Capo 0

Gbmaj7  Fm7  Gbmaj7  Fm7  Ebm7  Fm7  Ebm  Dbmaj7

   Dbmaj7    Ebm7      Fm7
Uzağında anladım değerini
               Ab        Dbmaj7
Ararken her yerde benzerini
        Fm        Ebm          Fm7
Yoktu güven yoktu aşk ya da sevgi
                 Ab         Dbmaj7
Sen yıktın sen bozdun ezberimi

      Gbmaj7
Her yanım sen olmuş
         Fm7
Senden ayrı ne zormuş
  Ebm7                 Dbmaj7
Suçun yok isyanım kendime
      Gbmaj7
Geçen günlerin bedelini
   Fm7
Ödedim affet beni
     Ebm              Dbmaj7
Bu defa senleyim ölümüne

        Gbmaj7        Fm7
Yeniden başlasak kalbime kalbini koysan
        Gbmaj7     Fm7
Yeniden başlasak ömrüme milat olsan
         Ebm7               Fm7
İçimdeki tek sesim ılık nefesim sen olsan
        Ebm7        Dbmaj7
Yeniden başlasak hayalim düşüm olsan

        Gbmaj7        Fm7
Yeniden başlasak kalbime kalbini koysan
        Gbmaj7     Fm7
Yeniden başlasak ömrüme milat olsan
         Ebm7               Fm7
İçimdeki tek sesim ılık nefesim sen olsan
        Ebm7        Dbmaj7
Yeniden başlasak hayalim düşüm olsan

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Erkan Kızılaslan - Yeniden Başlasak Tabs

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Harmony analysis

Erkan Kızılaslan – Yeniden Başlasak: key and chord analysis

The song opens on Gbmaj7 and ends on Dbmaj7. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Db major side because it comes to rest on Db and Db is heard 8 times while Bbm never appears. That is an interpretation, not a rule — hearing the same chords from Bb minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Db or to Bbm; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from Db major
Degree	Chord	Role	Notes	In song
Imaj7	Dbmaj7	Tonic — home	Db · F · Ab · C	8×
ii7	Ebm7	Supertonic — prepares the dominant	Eb · Gb · Bb · Db	7×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	3×
iii7	Fm7	Mediant — a tonic-family shade	F · Ab · C · Eb	13×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	1×
III	F	Chromatic colour chordoutside the key	F · A · C	—
IVmaj7	Gbmaj7	Subdominant — moves away from home	Gb · Bb · Db · F	8×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	2×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	—
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	—
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
IIImaj7	Dbmaj7	Relative major — the bright side	Db · F · Ab · C	8×
iv7	Ebm7	Subdominant — moves away from home	Eb · Gb · Bb · Db	7×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	3×
v7	Fm7	Minor dominant — soft pull	F · Ab · C · Eb	13×
v	Fm	Minor dominant — soft pull	F · Ab · C	1×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VImaj7	Gbmaj7	Submediant — warm colour	Gb · Bb · Db · F	8×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	2×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 42 times in total; 7 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Ab Dbmaj7 DbV → Imaj7authentic cadence BbmVII → IIImaj7 ×2

The move to watch is Ab → Dbmaj7, heard 2 times. From the Db side it reads V → Imaj7 (authentic cadence: the strongest arrival home); from the Bbm side it is VII → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Gbmaj7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
Over Dbmaj7, land on Db, F, Ab — the chord's own tones always sound right on strong beats.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
1 semitone up

The song's harmonic story

The opening Gbmaj7 lays a solid floor for everything that follows. Fm7, Gbmaj7, Dbmaj7, Ebm7 carry the song: iii7–IVmaj7–Imaj7–ii7 relative to Db, v7–VImaj7–IIImaj7–iv7 relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Dbmaj7 (V → Imaj7 in Db, VII → IIImaj7 in Bbm): authentic cadence — the strongest arrival home. Ending on Dbmaj7, the song seals Db as home.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.